10 Artists to Look Out For in 2011

Here are ten artists that have been making their way through my playlists over the past few months and look to be ready to break in 2011. Certainly not all of them are going to break out and become successfull, but it will definitely be interesting to watch and see what happens. I'm also curious to see what new genre fusions start emerging...2009 was the year of do-it-yourself electronica (Neon Indian, Washed Out, MNDR), 2010 was the year of distorted lo fi rock (Surfer Blood, Best Coast, Ariel Pink's Haunted Graffiti), so exactly what does 2011 have in store for us?

1.) Tennis

Lo-fi indie pop with incredibly addictive vocals, hailing from Colorado. They can take a while to get into, but I haven't been able to stop listening to them the last couple of months. Their debut full length is out 1/18/11 on Fat Possum records.

myspace

live - bowery ballroom (3/2)

soundcloud - 'marathon'

2.) Yellow Ostrich

Very minimal, vocal pop bedroom project that sounds like a weird fusion of Freelance Whales and Local Natives. Again, a tough listen at first, but I think they are destined for some kind of iPod commercial or a catchy smart phone ad.

myspace

live - mercury lounge (1/4)

soundcloud - 'whale'

3.) The Head and the Heart

An upcoming indie-acoustic band that's been drawing comparisons to Dr. Dog, Fleet Foxes and even Ray LaMontagne. Their music is incredibly accessible and often light-hearted.

myspace

live - terminal 5 (2/18)

soundcloud - 'sounds like hallelujah'

4.) Yuck

Lo fi indie band that actually has some nice pop harmonies buried underneath their endless layers of distortion and chaos. Think Wavves or Beach Fossils, but actually good.

myspace

live - mercury lounge (1/25), glasslands (1/26)

soundcloud - 'georgia'

5.) The Pass

They may be the band I'm most excited for in 2011. The Pass quietly released "The Burst" this fall and it hasn't garnered the attention it should. Their sound is a fusion of dance, pop, electronic and indie rock. Imagine a blend of Phoenix, Passion Pit and Delorean...brilliant.

myspace

live - nothing in the nyc area

soundcloud - 'vultures'

6.) Holiday Shores

They're a weird amalgamation of garage pop and dance. They somewhat remind me of a much rawer and earlier Vampire Weekend, but with more guitars and distortion. They are Kisses if they were from the east coast.

myspace

live - bowery ballroom (3/2)

soundcloud - 'edge of our lives (live)'

7.) La Sera

Lo fi indie pop that has some hints of soul and motown. This solo project is from Vivian Girl's member Katy Goodman, and is much brighter (and less suckier) than Vivian Girls - very much in the same vein as Best Coast.

myspace

live - bowery ballroom (3/2)

soundcloud - 'never come around'

8.) James Blake

An exciting electronic fusion of dub beats, samples and effects. He already kind of broke this year, but I think he's really going to go off in 2011. If there was a white Flying Lotus - it's James Blake.

myspace

live - nothing in the nyc area

soundcloud - 'cmyk'

9.) Smith Westerns

Breezy, indie rock band that is filled with pop melodies. They really remind me of a rough, stripped down version of Rooney or The Thrills. Thankfully, they're are not too overly lo fi.

myspace

live - glasslands (1/18)

soundcloud - 'weekend'

10.) Penguin Prison

I still don't know why Penguin Prison isn't huge. It defies logic. Combine equal parts synthesizers and Justin Timberlake-esque vocals...you should have a star in the making, right? I'm willing to bet money that they break out this year, for the next two months they are touring with Girl Talk, so they'll finally be getting some decent exposure.

myspace

live - nothing in the nyc area

soundcloud - 'the worse it gets'

Top 15 Albums of 2010

Here it is, my favorite 15 albums of 2010...

15.) The Roots - "How I Got Over"

14.) Delorean - "Subiza"

13.) Surfer Blood - "Astro Coast"

12.) Deerhunter - "Halycon Digest"

11.) Best Coast - "Crazy For You"

10.) Local Natives - "Gorilla Manor"

9.) Kisses - "The Heart of the Nightlife"

8.) Two Door Cinema Club - "Tourist History"

7.) The Morning Benders - "Big Echo"

6.) LCD Soundsystem - "This is Happening"

5.) Miami Horror - "Illumination"

4.) Sleigh Bells - "Treats"

3.) Kanye West - "My Beautiful Dark Twisted Fantasy"

2.) Tame Impala - "Innerspeaker"

1.) Toro y Moi - "Causers of This"

Top 15 Songs of 2010

Here you go, the top 15 songs of 2010 (in my opinion).

15.) French Horn Rebellion - This Moment

14.) Delta Spirit - Bushwick Blues

13.) Two Door Cinema Club - Something Good Can Work

12.) Local Natives - Sun Hands

11.) Deerhunter - Helicopter

10.) Tame Impala - Desire Be Desire Go

9.) Kisses - Kisses

8.) Sleigh Bells - Rill Rill

7.) Vampire Weekend - Cousins

6.) The Morning Benders - Excuses

5.) Kanye West - Monster

4.) Pantha du Prince - Stick to My Side

3.) LCD Soundsystem - Dance Yrself Clean

2.) Toro y Moi - Low Shoulders

1.) Miami Horror - Sometimes

WK52 - Marnie Stern - Marnie Stern (4)

Released - 10/5/10

Label - Kill Rock Stars

BLURB - Aside from maybe, Fang Island, Marnie Stern may provide for the most frenetic rock release of the year. Her album is jam packed with screaming guitar riffs and intricate drum fills that almost convince you that you're listening to some metal band, and not this tiny girl from New York City. Described as an art-rocker, Marnie Stern's music is an interpretive blend of fast-paced punk and progressive rock that packs a wallop. But, regrettably, the album is a tough listen and is mired in chaos and noise. Few songs have any true hooks and most of the record comes off as loud and monotonous. While the musicianship is actually top notch, the overall accessibility of the album is lacking - but I guess that's art rock for ya?

Rating - 4 out of 10

FULL STORY - The first time I listened to Marnie Stern's album, I was kind of just playing it softly in the background while I was at work. Without putting too much thought into it, I could kind of hear some weird marriage between Best Coast and Sleigh Bells. Obviously this warranted a closer inspection - as that union sounds like musical heaven. But after listening to the album over and over again I kept become less interested. Sure the sound is pretty dynamic and some of those fret-tapping solos Stern rips off are incredible, but there is very little pop appeal. The vocals are more or less just screaming with any sense of tone or pitch.

The opening track, 'For Ash' features some amazing drumming and something of a watered down thrash-metal feel. The song is filled with energy but is extremely difficult to dive into. Much of 'For Ash' is just shouting over repetitive guitar lines that become old and tired well before the song even comes close to ending.

'Nothing Left' again features some outstanding beats as the drummer works in both double kick drums and a barrage of snare fills. The track actually has a decent makeup in that there are several varying sections, bridges and riffs that keep the song interesting and appealing. The lead riff that reappears throughout the track is very catchy and creates a cool, subtle basement party vibe. But for me, even just after listening to only these first two songs closely, the vocals are rubbing me the wrong way. Maybe it's just me, but I can't stand listening to her voice. When she's not shouting, she's pretty much just talking with rhythm...definitely not singing.

'Gimme' and 'Cinco De Mayo' literally sound like the exact the same song with different lyrics. While her guitar playing is impressive and more than tolerable, nothing much else ever appears to happen - creating two back to back songs that have a glaring lack of diversity. With these two tracks there is no direction or flow and the songs suffer, coming off as both stagnant and boring.

I know the whole artsy, noise-rock thing is supposed to be interpretive and nuanced, but I'm finding it's just something I can't get into. The best aspects of Marnie Stern are her musical precision and energy - I've never heard a female guitarist that's this good. But that being said, her persistent stubbornness to only approach her craft from one singular perspective and failure to add at least some sense of versatility and creativeness to her music does nothing but detract from her talent and potential. For you to really enjoy Stern, you have to rid yourself of melody and any commercial expectations you may have. The record is noisy, chaotic and often too much to take in. You may want to give Marnie Stern a listen or two just to see what's going on musically and develop your own opinion, but don't get your hopes up - the album isn't as great as many of the indie critics out there think it is.

Tracks

1.) For Ash

2.) Nothing Left

3.) Transparency is the New Mystery

4.) Risky Biz

5.) Female Guitar Players Are the New Black

6.) Gimme

7.) Cinco De Mayo

8.) Building a Body

9.) Her Confidence

10.) The Things You Notice

WK51 - French Horn Rebellion - The Infinite Music of French Horn Rebellion (7)

Released - 12/7/10

Label - French Horn Rebellion LLC

BLURB - French Horn Rebellion are perhaps the best live show in New York. Their energy and drunken enthusiasm at their shows make their electronic DJ sets can't-miss parties. After releasing some singles and EP's, they've finally released their first full length album in "The Infinite Music of French Horn Rebellion." What's unfortunate is that the record is somewhat lacking in the ability to adequately reflect their buoyant, energetic dance grooves. The album does have some hits on it, but much of the record is filled with spacious and sometimes tedious breaks that are constantly detracting from the fun. At it's core, 'The Infinite Music of French Horn Rebellion' is a collection of party jams from two hipsters in Brooklyn looking to have a good time. The release is listenable but nothing spectacular - if you really want to get down, go see them live.

Rating - 7 out of 10

FULL STORY - I've probably seen French Horn Rebellion five or six times, and they never disappoint. Perhaps this is why I'm a little taken back by the lack of out-of-this-world dance grooves...I was probably expecting too much. That being said, there certainly are some bright spots on the album.

'Body Electric,' the album's second song has a european garage-trance feel to it that exudes hipster partyism. The track does sound a little bit too 3Oh3! for me, but I can look past this. The highlight of 'Body Electric' has to be the dynamic bridge as it effectively delivers some great 80's synth solos over a bed of chunky bass lines.

The eighth track, 'Up All Night' is likely French Horn Rebellion's most familiar song. The band really started gaining their street cred from this song alone, and we're able to parlay that hit into a music video and numerous remixes. 'Up All Night' is a song you can't wait to hear at a party. It's lively, energetic and fun. There are hooks and melodies everywhere that get welded into your brain before you know it. Much of the music is filled with video-game-sounding synth riffs that serve as the hooks and focal points for the song.

'This Moment' delivers the best dance groove on the album and has a distinct disco feel. The bass lines are cranked up on this track and help to provide some much appreciated funk. Essentially 'This Moment' has two separate sections (verse and chorus) and they do a marvelous job of complimenting each other. Both have different tempos, but are unique and creative enough to keep the song's momentum on track. The chorus on "This Moment' is probably the sturdiest of the album (maybe second to 'Up All Night') and has a great singalong quality to it. All in all, 'This Moment' is one of the better tracks on the album, and is just fun to listen to.

'Last Summer' is one of the surprises of the album and is uncharacteristically slow for French Horn Rebellion - but it works. The song is much in the vein of 80's pop and has an eery similarity to The Police's 'I'll Be Watching You,' of all things. Halfway through, the song dives off the deep end into a weird chorus filled with, what else, french horns. I'm not really sure what they were trying to accomplish with this - it doesn't fit with 'Last Summer' and detracts from how great the song actually could have been.

The only other tracks really worth mentioning are 'What I Want' and 'Geomancer's Compass and Other Quasi-Scientific Findings,' with the latter sounding like something George Clinton would have made had he been on acid and sitting in front of laptops and synthesizers for an afternoon. 'What I Want' returns to a more digital-pop vibe that is actually one of the album's stronger tunes - you can't help but think why it was placed last on the record.

Ultimately, "The Infinite Music of French Horn Rebellion" is something of a let down. In between all of their catchy dance tracks are head-scratching, ambient interludes that don't serve any real purpose on the album. You can make the argument that these were put there to provide transitions for each of the songs, but it doesn't really work. I've had the album for two days now and find myself sub-consciously skipping over all of these medleys. The other main factor that detracts from the album are the poor vocals. I've been able to look past them because of how sick some of the music is, but they do appear to be the elephant in the room. Luckily for French Horn Rebellion, it's their music and creative do-it-yourself digital approach that's made them who they are. The album is definitely worth checking out, but if you really wanted to experience the greatness of French Horn Rebellion you're going to have to see them live.

Tracks

1.) The Void and Fancy Free

2.) The Body Electric

3.) Broken Heart

4.) New Florida

5.) Brasilia Girl

6.) Mawson's Peak

7.) Antarctica / The Decision

8.) Up All Night

9.) This Moment

10.) Last Summer

11.) Geomancer's Compass and Other Quasi-Scientific Findings

12.) Running Through the Wild

13.) The Cantor Meets the Alien

14.) What I Want

WK50 - Kanye West - My Beautiful Dark Twisted Fantasy (10)

Released - 11/22/10

Label - Roc-A-Fella Records

BLURB - Where to begin with Mr. West? "My Beautiful Dark Twisted Fantasy" is by far, the best hip hop album to come out in 2010. West has the unmistakable knack for delivering on every album he's put out. He's in total control of every note, sample, beat, verse - nothing gets by without the 'Yeezy' stamp of approval, and it shows. This record flourishes with diversity, creativity and originality. Some tracks come with an old school Wu-Tang feel, while others are incredibly modern and progressive. Swagger and coolness are literally pouring out of the album as each track delivers verse after verse of stellar rhymes and innovative beats. Even my bosses can't stop listening to "My Beautiful Dark Twisted Fantasy." Love him or hate him as a person, but you can't deny the greatest rapper alive of his masterpiece.

Rating - 10 out of 10

FULL STORY - First I'll explain my bias. Kanye West has been my favorite rapper for as long as I can remember. I own everything he's ever put out, and will continue to buy every album he makes. There's just this unique and distinct talent that you have to acknowledge when you're talking about Kanye. What people don't realize is that at his core, West is a premier songwriter and something of a musical genius. He produces all of his tracks, creates all of his beats, coordinates all of the instrumentation, and oh yeah...he raps too. There's something to be said about someone who is in that much control of their music. He is wholly responsible for every note on every album. For me, to see someone take such ownership and pride in something and not accept anything less than the best, is not only admirable but a model everyone should use in life.

As long as I can remember Kanye has been a veritable 'hot button' for many people, and I've never fully understood why. West developed this unflattering reputation over the last few years as being a jerk and an egomaniac that is constantly stirring up controversy with some of the things he says. Granted, he is a little crazy, like all geniuses, but he has always stood by his words and actions. If nothing else, Kanye is probably the most honest and forthcoming public figure out there. He received endless criticism for upstaging of Taylor Swift's acceptance speech at the VMA's when he interrupted her collection of thank-you's, to inform her that in reality, her song wasn't that great and shouldn't have won the award. Now I know there's got to be a better way for him to handle that, but in all seriousness - he was right. And in some bizarre way, that exchange only made me like him more.

But enough history, let's get to the album. Kanye always does a great job prefacing his records with a welcoming opening track that readies the listener for the rest of the album - and this is no different with 'Dark Fantasy.' The opening track has a laid back groove and swagger that immediately makes you glad you hit the play button. West also throws around some clever wordplay that can't help but make you laugh as your nodding your head up and down. Case and point, this gem:

"...too many Urkels on your team - that's why your wins low...."

I've been noticing that the second song on the record, 'Power,' is quickly becoming one of the better sports anthems of the year. I hear it everywhere - on SportsCenter, at NBA games, in the background of football games. The track samples the obscure King Crimson's 'Twenty First Century Schizoid Man' and has an energy and enthusiasm that is all too tangible. West does a great job changing tempos and throwing in several interludes and bridges that grow on you with each listen. If nothing else, the switches employ a great supply of diversity, never allowing the listener to lose interest. To boot, the track provides the typical confident and arrogant lyrics that have made West the rapper he is:

"They say I was the abomination of Obama's nation, well that's a pretty bad way to start the conversation. At the end of the day, god dammit I'm killin' this shit. I know damn well y'all feelin' this shit."

'All of the Lights' might be one of Kanye's greatest feats. What eventually turns into one of the best pop songs of 2010, begins with a surreal interlude of strings and pianos that gently float through the speakers. As the song begins, a french horn casually belts out the best hook on the album and you're sitting there thinking to yourself, 'wait, was that a french horn?' But in all reality, that sound and the tone of the horn is perfect and I can't think of any other instrument delivering that riff. This introduction alone sets the tone for the song as something triumphant and regal. The cast of guests on the track only confirms this, featuring Rihanna, Fergie, The-Dream, Elton John, Ryan Leslie, La Roux, Charlie Wilson and even Elton John! Once again the song is creatively structured with numerous breaks and shifts in pace, instrumentation and tones - making 'All of the Lights' Kanye's greatest pop record to date and impossible to get out of your head.

If 'All of the Lights' is West's greatest pop effort, then 'Monster' is his greatest rap effort. Filled with dark and eery samples and an insane old school beat, the track takes on a ominous personality. The track has an all star cast providing verses and rhymes that all stay within the dark theme of the song. Nicki Minaj quite possibly made her career out of her verse on 'Monster,' as she delivers line after line of forceful dialect. Everything about 'Monster' feels right. You can almost make the argument that the track could be about how the media perceives West as a monster of sorts. Even the chorus kind of addresses this metaphorically (at least it does in my head) as Kanye more or less says, 'you guys can call me a monster...but you're still going to my concerts and listening to my music...':

'Gossip, gossip, niggas just stop it. Everybody knows I'm a motherfuckin' monster. Imma need to see your fuckin' hands at the concert. Imma need to see your fucking hands at the concert. Profit, profit, nigga I got it. Everybody knows I'm a motherfuckin' monster."

'Devil In a New Dress' is one of the many surprises on the album. The track is a laid back, breezy six minutes of absolute bliss. The backing samples and instrumentation casually motor the song as you can't help but relax and nod your head up and down. If I was rich I would hop in my Benz, light a cigar, drive 55 mph on the highway with the windows down - blasting 'Devil In a New Dress.' As is one of the developing themes with the album, 'Devil In a New Dress' goes off into several variations, yet never straying from the original beat. As one of the later interludes appears to be finishing up, the electric guitar solos, pianos and strings intensify and build in strength. Just as the music is peaking we're met with a surprise, show-stopping verse from Rick Ross that reels us right back into the song and leaves us saying, 'where the hell did that come from?'

Kanye digs out the auto-tuner for 'Hell of a Life' and yet again pens up another hit. The song is the most electronic on the album with fuzzy synth bass lines and arpeggiators everywhere. Kanye, wisely, only uses the auto-tune for the chorus - but his mastery of this effect is worth note. If you use it constantly (see 808's and Heartbreaks), the effect can become annoying and cheesy very quickly. But when used briefly like on 'Hell of a Life,' you can really liven up the track and enhance not only the sound, but the feel of the lyrics.

I could go on for days about why 'My Beautiful Dark Twisted Fantasy' is the greatest hip hop album of the last decade, maybe even of all time. I didn't even get a chance to talk about the breakout single, 'Runaway' or the dazzling collaboration West did with Bon Iver in 'Lost in the World.' Kanye continues to prove that he is the best at what he does with this album as each track leaves me selfishly wanting more. The originality, ingenuity and foresight that he applies to his music is second to none. And he does all of this with a level of passion and commitment that simply put, just doesn't exist in the music world today (or at least as much as we would hope). Kanye completely buys into everything that he does - so it's no surprise that we're all buying his records. Is it cliched to say 'My Beautiful Dark Twisted Fantasy' is anything but the best album of 2010?

Tracks

1.) Dark Fantasy

2.) Gorgeous

3.) Power

4.) All of the Lights (Interlude)

5.) All of the Lights

6.) Monster

7.) So Appalled

8.) Devil in a New Dress

9.) Runaway

10.) Hell of a Life

11.) Blame Game

12.) Lost in the World

13.) Who Will Survive in America

WK49 - Glasser - Ring (6.5)

Released - 9/27/10

Label - True Panther Sounds

BLURB - Glasser's first full length sparkles with charming imagery and worldly tones. Listening to "Ring" makes you feel like you're wandering through some forest in a Disney movie. While this album isn't necessarily anything that mainstream music fans would sink their teeth into, it's surprisingly inviting and warm. If I had to classify this record it would fall somewhere in between dreamy electronic pop and avant garde. There is a precision and attention to detail with Glasser that fans of Dirty Projectors and Animal Collective can rejoice in. While "Ring" isn't in my personal musical arena (yet), you can't discount the fact that Glasser is amazingly talented and has a special way of illustrating ideas and themes through their unique orchestrations.

Rating - 6.5 out of 10

FULL STORY - Glasser had been getting some buzz right before CMJ this year, and having no clue who the band (which is a 'she') is - I figured I'd add them to my list of bands to see. Unfortunately the venue Glasser was playing (Coco66 in Brooklyn) was shut down due to over-capacity as she started playing her second song. From that point on I really put Glasser on the back burner and forgot about her until just recently, as I just now picked up their record.

'Apply' begins the record with ominous tribal beats and dark lines of synthesizers. It's actually pretty scary, I recommend listening to this song with the lights on. However, as the track grows, warmer textures do surface and you get your first impression of singer Cameron Mesirow's heavenly voice. The song remains much too slow for my liking, but at least now I know what I'm getting myself in to.

'Home' begins with a much more upbeat clap track as descending xylophone solos (yes, xylophone solos) form a simple, initial hook. From here on out the song takes on a gigantic, worldly atmosphere. Mesirow's voice shines and provides an endless depth to the song as string sections and reverb are funneled in by the truck-load. The track has an epic, larger than life quality to it and would be greatly served if it were to be thrown into the background of a film.

The best song on the album is 'Mirrorage,' and is likely the most uptempo. Chimes and bells add a shimmering glow to this track as once again Mesirow's vocals take center stage. Adding to the brilliance of this track, is the manner in which background lines of vocals are constantly being filtered in and out, with each phrase complimenting the previous one. The song has a very sincere and poetic tone that is carefully reflected in the lyrics:

"We live alone, we live alone. Unearthed, a great divide, a dark untrusted plane. The self a lonely terrain with temporary lines. How can I trust in you?"

"Ring" really isn't an album that has any hits on it. It doesn't have any stand out tracks - hooks and melodies are hard to come by. But that being said, the record does a tremendous job painting colors and moods through a collection of well thought out textures and instrumentation. Generally, each track fades seamlessly into the next, creating an album that plays more like one singular film score, as opposed to nine separate songs. While "Ring" isn't something I'll be listening to every day, it's definitely one of those records that's good to have around for a rainy day.

Tracks

1.) Apply

2.) Home

3.) Glad

4.) Plane Temp

5.) T

6.) Tremel

7.) Mirrorage

8.) Treasure of We

9.) Clamour